During this most solemn period in the Christian church calendar, a time when Bach was probably thinking about, composing, or preparing to perform one of his Passions, it seems appropriate to investigate an esoteric phenomenon relating to that most central Christian symbol, the cross. After a recent discussion here on the BCML, and mainly for anyone otherwise not acquainted with a suitable application of the word, 'esoteric,' to understanding Bach's life and his instrumental and vocal compositions, allow me to reiterate the best analogy that I can think of, namely, Bach's vocal music output as compared to Jesus' parables. Jesus related his parables to the masses as one of the preferred ways to instruct them about the spiritual truths he considered important, but for the deeper, hidden meaning behind these 'stories' he chose to speak only in private to his disciples (NT Mat 13:10-18). Likewise Bach conveyed his cantatas to his congregations in a form that allowed each individual to be moved aesthetically and spiritually while accepting Bach's musical message at a level that represented the receptive capacity of any given individual. Bach provided something for everyone, from the most erudite professors at the university to the simplest peasant that might happen to be visiting a large city church. Nevertheless, Bach's genius allowed for an even greater range or depth of understanding for those select individuals that knew him more intimately, as, for instance, those who actually performed the cantatas under his direction or those with whom he discussed the various techniques of composition and the books that he had been reading. It is also possible that he eventually came to the realization that even these latter individuals would or could not understand certain things and, as a result, he embedded some elements in his music that were left for future generations to decipher and understand. Bach loved to engage in musical puzzles such as unique fugal subjects and canons, and the challenge that such puzzles posed must have been a source of great joy to him as in his Musical Offering, BWV 1079

(where, in one piece, two players facing each other read the same piece of music from the same score, one player beginning where the other has the conclusion and vice versa - they meet in the middle), the musical puzzle in the form of a cross, often included in the liner notes to the Suzuki cantata series

(), or his own monogram/seal (see the following link http://jan.ucc.nau.edu/~tas3/crownofthorns.html to decipher his monogram and remember to count the tiny extensions (except the two spikes on which the crown would come to rest.)) He also must have taken great pleasure, as many great minds do, in speaking "durch die Blume" = "to speak indirectly, through allusion, using innuendo." This allowed for a type of 'punning' or 'double entendre' where the ambiguity becomes a protective shield (you wouldn't want Bach to get involved in another one of those encounters, such as the one he had with Geyersbach, a bassoonist, whom Bach had called a "Zippel-fagottist"='nanny-goat bassoonist', a derogatory term, whereupon Bach had to draw his sword in order to protect himself ). As I was working on this report, I had to laugh out loud as I made a connection between the name of the cantata BWV 193Ihr Tore zu Zion and the occasion for which it was written: the inauguration of the city council members. Why is this funny? Because the city elders in their pomp and circumstance are thinking biblically, "Ye Gates of Zion" while Bach is thinking, "You Fools of Leipzig." (Remember also that these were the elders that said that Bach was 'inkorrigibel', a nice foreign sounding word in German, but we know it in English as 'incorrigible.') This punning is possible because the word, "Tor" can mean both things in German. But Bach's puns were not only on a word level. Simply think of the musical representation of his last name in Contrapunktus 14 of the AOF (BWV 1080) and the example already cited (see: Puzzle A), the 'Bach in the form of a cross' puzzle where he represents himself with a single note in the middle of the cross, a very clever idea! Then there is the puzzle

that Bach submitted to Mattheson, who reports on it in his "The Complete Kapellmeister" and states that he received this puzzle from Herr Bach on such and such a date in 1727 and immediately after identifying it as a 'circle fugue' submitted it to his students - Mattheson never reports his solution, but rather prints two suggested solutions by two men, one of whom had already died without ever finding out, if his suggested solution was acceptable. Mattheson could not tell him, because only Bach had the correct answer in mind. If I mentioned Bach's number symbolism at this point, I would certainly be digressing and not returning to the point that I wish to discuss in detail: the cross.

Among a number of meanings that the word, "Kreuz"=[cross] can have in German are two very important ones: 1) the cross on which Jesus Christ died and 2) the musical definition of a notational sign, the 'sharp,' which, when placed before a note, causes it to be raised in pitch by a semitone. In German the 'sharp' is called 'das Kreuz' and a 'double sharp' which causes the pitch to be raised by two semitones, is called in German 'das Doppelkreuz.' Let me try to simplify that somewhat: The '#' symbol that you see in a score is a 'sharp' in English, but any speaker of the English language would not know that in a Bach score it may have an additional meaning beyond raising the note by one semitone, since it can also mean 'cross' with all of its religious symbolism as Bach stated in one of his letters:" "...so muß [ich] mein Creütz in Gedult tragen..."Leipzig 24.5.1738 = "I must bear my cross with patience." Hence # = Cross = "Kreuz."

In the MGG Vol. 1 Col. 1300 in the article by Friedrich Blume on the Baroque Period in music, he states: "Wenn Bach in der KirchenkantateBWV 56(Ich will den Kreuzstab) zahlreiche Hochalterationen (#) notiert, so ist dies ein Fall reiner Symbolik, denn diese Zeichen können nicht "gehört" und somit nicht unmittelbar "verstanden" werden; sie müssen "gelesen" und "gewußt" werden, wobei die reine Sinnbildlichkeit dieser "Zeichengebung" (darauf hat Bukofzer aufmerksam gemacht) in diesem Falle besonders evident wird, weil nur in der deutschen Sprache # = Kreuz ist, das Symbol also aus der Musik mit einer fremdsprachlichen Übersetzung gar nicht nachvollzogen werden kann. A rough translation: [In the situation where Bach uses numerous #-accidentals in the sacred cantata BWV 56 (Ich will den Kreuzstab), it can be considered a case of pure symbolism, because these accidentals (the 'sharp' signs = #) can not be 'heard' and as a result they can not be understood directly, but rather must be 'read' and 'known' , a fact that becomes quite evident because of the plain symbolism that arises through assigning meaning to a musical sign (a feature that Bukofzer has pointed out). This can only happen by virtue of the fact that, in the German language, the meaning of the symbol derived from musical terminology, a '#' = cross, can not be transferred to any other language.] So what we have here, as I attempt to extract meaning from this statement, is a sprinkling of sharps strewn through the cantata and that could be considered evidence of Bach's attempt at symbolism. A rather vague statement of a possible connection. Alfred Dürr, in his "Bach: Die Kantaten" does not mention anything about this. David Schulenberg in his article about this cantata in the 'Oxford Composer Companions: J.S.Bach [M.Boy]' also refers to the "chromatically sharpened fourth note of the ritornello theme" just as Kerr did, but he does mention the "word 'Kreuzstab' makes explicit the pun on this word ('Kreuz' means both 'sharp' and 'cross')."

I had a feeling that there must be more to this, because I vaguely remembered seeing another instance in another cantata as I followed the score of each cantata while listening to the various recordings. However, I had not marked it, and had forgotten in which cantata it was, and yet I wanted to find it again quickly. My next thought was to go to the suggested internet site (Walter F. Bischof's Site) that had the complete text in German of all the sacred cantatas. It also had a handy search engine, that allowed me to input 'Kreuz' and come up with fifty some odd instances of this word. Now it was simply a matter of rolling up my sleeves and 'digging in' in order to find an answer.

As I began looking at a few examples in the scores of the first cantatas in the list, I realized that certain conditions would need to prevail, in order to find a significant example where it would appear that Bach intentionally used the #='Kreuz'='cross' feature when the word 'Kreuz' appeared in the vocal line. Here are some considerations that evolved as I began placing the examples into one of the two categories: 1) it meets the criteria or 2) it fails because there are some reasonable grounds that preclude its use in certain situations.

Here are some of the reasons that evolved early in the search process, reasons that make sense to me, although others might simply think that they are rationalizations on my part:

1) The word "Kreuz" in the chorale melody is not a good candidate for this type of associative symbolism because a) in an introductory chorale movement, the melody based on an already existing musical structure is frequently given long note values with the other vocal parts often repeating the same word in fast succession; b) in the introductory and concluding chorale movements in a sacred cantata, the first line is most often repeated with different words the second time through, but the music remains the same - a degradation of significance occurs when other words replace "Kreuz" in its otherwise unique position in the music.

2) When the word "Kreuz" is placed in an unaccented position, the emphasis in the text being elsewhere on a different word usually following it, it rarely shows the #-connection sought after.

3) Following from this consideration is the fact that "Kreuz" used as another part of speech, for example, particularly as an adjective, or in a compound noun (and the German language loves to combine elements of this sort!) weakens the emphasis on the key word "Kreuz" in many instances, because the first element "Kreuz" begins to act like an adjective to the second noun in the compound.

4) the value of the note can be too slow or too fast for a proper emphasis to occur, thus a quarter note (sometimes a half note) seems to be ideal, but eighth and sixteenth notes too fast for any proper emphasis to occur.

5) The first note in a measure seems to be an ideal spot for the word "Kreuz" to receive a full emphasis.

6) More often than not, and particularly in recitatives, the # is in the basso continuo and not in the vocal part, a phenomenon that at first took me by surprise.

7) Although the search for "Kreuz" in the cantata German text database may turn up one or two instances in a given movement, particularly in an aria, the word may reoccur many times within the same aria, thus depleting any emphatic effect the word might have when connected with a '#'. It might, however, happen that the very first instance of "Kreuz" in such an aria will nevertheless have this emphasis or connection.

Somewhere at the beginning of this process while trying to determine when Bach uses the double sharp in the cantatas, I discovered that the words "Höll-" and "Wurm" ('hell' and 'worm') had an unusually affinity for sharps and double sharps. Although not as convincing as the preponderance of evidence with "Kreuz", I have included them and marked them accordingly. Many of the considerations that apply to "Kreuz" can also be applied here. With "Wurm" I considered the possibility that this word describes (for the musician playing or singing it) the enharmonic movement, 'worming one's way' into another key. The extremely few instances of this word in Bach's cantatas make it very difficult, if not impossible, to say anything very meaningful about this connection, if it exists at all.

Before listing the examples with my commentary, I would like present some imaginative scenarios that might give possible explanations for Bach's motivation in frequently applying sharps and double sharps in a specific way:

1) Remembering that, more often than not, the only performing musicians, with the exception of the complete score that Bach had before him, to see the "#" were the continuo players, and the vocalists singing the word "Kreuz" may not even see a sharp before the note that "Kreuz" is sung on. For that matter, neither does the congregation/audience. Three explanations come to my mind and they are a) Bach felt he was 'erecting/lifting up' the 'cross' musically on the foundation supplied by the continuo part. This type of musical picture imaging is not that far-fetched, when you consider that Mattheson ("The Complete Kapellmeister") explains that 'every fugue has two "Haupt-Kämpfer" = main warriors/fighters that have to contend with each other.

2) Bach may have had to contend with student musicians that were not on an equally high level of proficiency. It sometimes happened that a student in his charge (we have Bach's evaluations and letters of recommendation as proof) should not sing because he was not musically proficient in that area, but rather play an instrument instead. Take such a student player and give him the bass part (cello, bassoon, or violone) that would not be as difficult as any other instrument, or have someone like Johann Heinrich Geyersbach playing the continuo-bassoon, either of these individuals simply 'chugging away' in a plodding, unthinking manner at a musical part placed before them, and now have Bach deliberately throw in a note with a sharp, the only one in the entire movement. What happens? Bach only has to give this individual a knowing look at the very moment that the vocalist sings "Kreuz," because the word that will solve the problem of the wrong note has already been stated by the vocalist. At the same time the player is correcting the note, he will also perceive what a burden/cross his oversight has been for Bach. Or Bach is simply trying to wake up the individual playing to think both of the significance of the 'cross' in one's life as identical with the 'cross' seen on the copy of the part: "Lift up your cross, that is, raise the note one semitone, then you will be in harmony with the rest of us."

3) Another possibility that I am exploring is the meaning of the 'cross' as something difficult, not only in the lives of the musicians, but also for those who are listening, if they are actually hearing this performance in a modified mean tone, a situation that I am beginning to think is quite possible. Then this word "Kreuz" would be the very point where the jarring nature of the sound becomes most apparent. Perhaps there was the greatest likelihood of a musically uncomfortable sound on F# and C#, the very notes that Bach prefers to use as he underlines the connection between Christ's cross and the imperfect world upon which it was erected, in this case it is also the imperfect temperament that caused a jarring sound to appear at the very point where the voice sings the word 'cross.' For Bach, this would be like an organist pulling a special stop that creates just the right effect to musically illustrate the word that is being sung.

Following is a list of occurrences in the cantatas according to their performance date (Oxford Composer Companions: J.S.Bach - Boyd). It becomes apparent thatBach's early cantatas only occasionally follow the standard that I have established, only later on can the best examples be found. This in itself makes sense and can allow for the early instances in Bach’s cantata output to be discounted, thus allowing us to see even better, that Bach uses this compositional technique intentionally.

Some tentative conclusions: Here we find further evidence of Bach's all-pervading genius whether it takes on the form of a pun with a very serious aspect to it, or whether it is trying to make use of every musical possibility at its disposal. In the latter case, where the question of equal or not equal temperament being available to Bach at all times can not be definitively answered (an attempt by R. Rasch in 1985 was made to try to put this matter to rest with exhaustive research, and yet many, including myself, are not fully convinced that this was entirely the case). I, for one, would like to hear a performance/recording of one of cantatas listed above, having good examples of 'Kreuz' und 'Hölle' in it, and also using an unequal, modified meantone temperament. I will have to assume that the organs Bach played in Leipzig did not have all the F#, C# etc., pipes reworked or replaced in order to make them entirely suitable for equal temperament, nor would Bach have taken the time immediately before a performance or a given movement in a cantata to 'retune' certain pipes for a short time, after which they would have to be retuned again quickly. If Bach then intentionally put an F# in the continuo part where a keyboard (mainly organ) player would clash with the bass string/bassoon player beside him, while the singer is projecting the word "Kreuz" to the congregation, the listeners would also have heard this clash backing up the meaning that they associated with "Kreuz." But until such a recording is made and the results become evident to the listener, we will have to consider the "Kreuz" phenomenon in Bach's cantatas to be esoteric in nature.

BWV 4Christ lag in Todes Banden Mvt. 6 Bass Chorale Verse Hie ist das rechte OsterlammA little different than we might come to expect. It is an early work. The first time Bach does nothing with "Kreuzes", but the second time he 'pulls out all the stops' Here you see all the repeated instances on one page. Notice all the sharps - G#, C#, A#, E# in one measure!

Weimar 1714-1716

BWV 182Himmelskönig, sei willkommen Mvt. 6 Tenor Aria Jesu, laß durch Wohl und WehThe compound noun, "Kreuzpanier" has a very different meaning here, as having a protective quality, and should be discounted for that reason. But when the world cries out, "Crucify" = "Kreuzige" in both instances Bach raises the cross on the continuo with F# in the vocal line. Compare side by side the two selections and notice that these examples are not simple duplicates of each other, that is, the cross is raised on different notes.

BWV 21Ich hatte viel Bekümmernis Mvt. 5 Tenor Aria Bäche von gesalznen ZährenIn the key of Eb in an unaccented position. The downward motion is more important. Perhaps the word 'Schlund' is significant because it has a Gb.

Mvt. 9 Chorus Chorale Sei nun wieder zufrieden has one instance in the melody line but nothing happens. Is it because of the long note values (tenor voice has the "Kreuz") that the emphasis is not so strong?

BWV 199Mein Herze schimmt im Blut Mvt. 1 Soprano Recitative
The compound noun, "Höllenhenker" appears in the middle of the measure. No special marking in this early work of Bach's.

BWV 152Tritt auf die Glaubensbahn Mvt. 3 Bass Recitative Der Heiland ist gesetztHere it is part of a musically descriptive falling into hell; it is in the middle of a measure (Ab) and not under main emphasis.

Mvt. 4 Bass Aria Fürst des LebensThe phrase "the ladder of the cross lifts you" has "Kreuz" in an unaccented position as part of a potential compound noun, but there are two F#'s in the vicinity. Not a good example. The interest here is in establishing the upward movement.

BWV 165O heiliges Geist- und Wasserbad Mvt. 4 Bass Recitative Ich habe ja, mein SeelenbräutigamThe word "Kreuz" appears at the end of the measure in an unaccented position and the greater emphasis is more directly upon the serpent that is being raised on the already standing cross.

BWV 162Ach! ich sehe, itzt, da ich zur Hochzeit gehe Mvt. 1 Bass Aria"Hölle" and "Höllenflammen" both appear twice in the aria. The word, "Hölle" is unaccented and shows nothing, but the compound noun "Höllenflammen" does have an F# in the continuo.

Leipzig Probe 1723

BWV 22Jesus nahm zu sich die Zwölfe Mvt. 3 Bass Recitative Mein Jesu, ziehe michThis is a verb, not a noun. Is Bach still trying to raise the note on "kreuzige" as if it were a sharp, but here a natural instead? An Ab in the continuo.

BWV 40Dazu ist erschienen der Sohn Gottes Mvt. 4 Bass Aria Höllische Schlange, wird dir nicht bangeAs an adjective and unaccented. The main accent is on '' the high note in the phrase.

BWV 64Sehet, welch eine Liebe Mvt. 6 Bass Recitative Der Himmel bleibet mir gewiß
"Höllenheer" in an unaccented position, and although is an A# before "Höllen" there are too many other sharps in this movement to make this significant.

BWV 153Schau, lieber Gott, wie meine Feind Mvt. 8 Alto Aria Soll ich meinen Lebenslauf
"Kreuz" is in an unaccented position and receives no #, but "Höll" is in an accented position the G# is in the continuo while the voice is still singing the word "Kreuz" on an E#.

Mvt. 9 Chorale Drum will ich, weil ich lebe nochIn the middle of a chorale in an unaccented position and a repeated with other words position.

BWV 81Jesus schläft, was soll ich hoffen Mvt. 7 chorale Unter deinen SchirmenEven in a chorale (because the line is not repeated with other words?) in the accented position at the beginning of the measure a C# and A#.

BWV 181Leichtgesinnte Flattergeister Mvt. 3 Tenor Aria Der schädlichen Dornen unendliche ZahlThree instances of "höllischen" an adjective, not as powerful as having a noun, but one of the three shows E# in the continuo at the beginning of the measure.

BWV 134Ein Herz, das seinen Jesum lebend weiß Mvt. 3 Alto and Tenor Recitative Wohl dir, Gott hat an dich gedachtTwo instances of "Hölle" both in the unaccented part of the measure but Db in the vocal part and Eb in the continuo.

BWV 67Halt im Gedächtnis Jesum Christ Mvt. 3 Alto Recitative Mein Jesu, heißest du des Todes GiftAlthough "Hölle" is in an unaccented position, look at the signature key and close by is the 'double cross' "Doppel Kreuz" in the continuo.

BWV 184Erwünschtes Freudenlicht Mvt. 3 Tenor Recitative So freuet euch, ihr auserwählten Seelen
"Kreuzestod" is a compound noun but the sharps nevertheless appear at the end of the measure in an unaccented position - C# in the vocal part and A# in the continuo.

2nd Leipzig Year 1724-5

BWV 20O Ewigkeit, du Donnerwort Mvt. 3 Tenor Aria Ewigkeit, du machst mir bangeThe direction downward in the vocal line is the overriding consideration. Also the aria is in the key of Bb. Nothing happens here – no # - no example given.

BWV 2Ach Gott, vom Himmel sieh darein Mvt. 4 Bass Recitative Die Armen sind verstört
"Kreuz" on a Gb in vocal line at the end of the measure in an unaccented position.

Mvt. 5 Tenor Aria Durchs Feuer wird das Silber rein
"Kreuz" appears as a stem form (not a compound noun) a total of 12 times! Any number symbolism here? Too many times to try to associate a # with each without losing significance, but there is one interesting sample that deviates from the usual presentation in this aria. It has a chromatic descent on "Kreuz" that begins with an F#.

BWV 93Wer nur den lieben Gott läßt walten Mvt. 1 Chorus Chorale"Kreuz" in the melody line where it appears with long notes - no # here.

Mvt. 2 Bass Recitative Was helfen uns die schweren Sorgen?
"Kreuz" has a C# in the vocal part which then follows with an embellishment for further emphasis. It then appears in an unaccented postion the second time with no #.

Mvt. 3 Tenor Aria Man halte nur ein wenig stilleHere it appears in a compound noun "Kreuzesstunde" = the hour of the cross. The emphasis on 'hour' is more important than 'cross' Nothing happens here for that reason.

BWV 107Was willst du dich betrüben Mvt. 4 Tenor Aria Wenn auch gleich aus der Höllen
"Höllen" is repeated three times in rather quick succession. The first time is significant. The continuo already has an F# sharp and now the voice gets the D#.

Mvt. 6 Tenor Aria Schweig, schweig, schweig
"Kreuz" is repeated seven times. The example shows four in quick succession - one does have a G# and the continuo also touches the G# while "Kreuz" ist still being sung.

BWV 94Was frag ich nach der Welt Mvt. 3 Tenor Recitative Die Welt sucht Ehr und Ruhm
"Wurm" is in a compound "Erdenwurm" and is played as an F# because of the key signature.

BWV 78Jesu, der du meine Seele Mvt. 4 Tenor Aria Das Blut, so meine Schuld durchstreicht
"Höllen" is accented in the middle of the measure and has an F# in the vocal part.

Mvt. 5 Bass Recitative Die Wunden, Nägel, Kron und Grab
"Kreuz" in this arioso has no special marking, perhaps because the cross is already in place from which the blood is shed.

BWV 99Was Gott tut, das ist wohlgetan Mvt. 3 Tenor Aria Erschüttre dich nur nicht, verzagte SeeleThe compound noun "Kreuzeskelch" appears in five instances, the first being the most important and showing the chromatic upward movement with a C#, D# in the vocal part still on the word, "Kreuz".

Mvt. 5 Soprano Alto Aria Duetto Wenn des Kreuzes BitterkeitenThere are 10 separate (sung at different times in both parts) instances - too many. The first two instances show a possibility of 'leaning' into the #'s by the oboe d'amore.

BWV 96Herr Christ, der einge Gottessohn Mvt. 2 Alto Recitative O Wunderkraft der Liebe
"Hölle" here is a rule breaker: it is an Ab accented at the beginning of the measure as a single word (no compound).

BWV 139Wohl dem, der sich auf seinen Gott Mvt. 6 Chorale Dahero Trotz der Höllenheer!In the first part of the chorale where other words are sung in the repeated section for the same notes - nothing expected here.

BWV 41Jesu, nun sei gepreiset Mvt. 4 Mainly Bass Recitative Doch weil der Feind bei Tag und NachtIn an ideal position, "Kreuz", accented as single word at the beginning of the measure with F# in the continuo and Eb in the vocal line.

Mvt. 6 Chorale Dein ist allein die Ehre, where it is in the middle of a chorale, a section that is repeated with other words, also not in an accented position

BWV 123Liebster Immanuel, Herzog der Frommen Mvt. 3 Tenor Aria Auch die harte KreuzesreiseThe compound noun "Kreuzesreise" is repeated in the accented position three times and each time thcontinuo has the B# or A# accidental before the note. Very consistent use of this device!

Mvt. 4 Bass Recitative Kein Höllenfeind kann mich verschlingenThe continuo begins with a strong accent on G# and the voice does not finish the segment "Höllen" without touching the G# as well.

The second example from this aria shows a double sharp in the continuo just before another entrance, otherwise G#,F# also occur with the word.

The only other double sharps are shown here in the third example in the second (middle) section of the aria along with other #'s where the word "Schmerzen"='pains' appears.

Mvt. 5 Soprano and Alto Duetto Aria Wenn Sorgen auf mich dringenThe first time the phrase "Mein Kreuz hilft Jesus tragen" in the middle section in example one, the key signature already has sharps for both voices and instruments all over, but things get very interesting in the second example taken from the middle section before the Da capo. Both examples given together, so check the measure number when viewing.

BWV 92Ich hab in Gottes Herz und Sinn Mvt. 1 chorale movement
When the melody line in the soprano voice has “Kreuz”, its foundation is built upon the continuo with a G#.

Mvt. 5 Tenor Recitative Wir wollen nun nicht länger zagenThis time the voice has the G# on the high note. Look at all the #'s. The voice part is lifting the cross "Kreuz" on all those #'s.

Mvt. 6 Bass Aria Das Stürmen/Brausen von den rauhen WindenOn the first of three occurrences of "Kreuz" in the middle section of the aria, the voice has the # on the strong accent at beginning of the measure.

BWV 127Herr Jesu Christ, wahr' Mensch und Gott Mvt. 1
It is in the chorale melody, but Bach tries to 'raise' the 'cross' by using a natural sign.

BWV 85Ich bin ein guter Hirt Mvt. 4 Tenor Recitative Wenn die Mietlinge schlafen
"Höllenwolf" a compound with "Höllen" in an unaccented position at the end of a measure.

Mvt. 5 Tenor Aria Seht was die Liebe tutThe first of three occurrences of the compound noun ,"Kreuzesstamm," has the continuo 'erect' the cross on the F# and the word 'Kreuz' is accented at the beginning of the measure. The other two instances are unaccented in the middle or end of a measure. There more emphasis is on the 'spilling' of blood.

Three examples are extracted from the page for easier viewing.

BWV 74Wer mich liebet, der wird mein Wort halten Mvt. 7 Alto Aria Nichts kann mich erretten von höllischen KettenThe adjective "höllischen" is repeated six times with no emphasis on the adjective, but rather on the noun "Ketten" each time.Only one example given.

BWV 175Er rufet seinen Schafen mit Namen Mvt. 6 Bass Aria Öffnet euch, ihr beiden OhrenThe middle section of the aria has three repeated occurrences of "Kreuz" of which the first is significant. It does have a 'cross' # (E#!) in the voice part.

Mvt. 3 Soprano Aria Ich wünschte mir den Tod
"Höllennot -" "Hölle" is in a compound, functions as an adjective, is in an unaccented position, the main emphasis is on "Not" to rhyme with "Tod".

BWV 72Alles nur nach Gottes Willen Mvt. 4 Bass Recitative So glaube nunTwo instances that follow the rule: the cross (D#) is raised on the foundation of the continuo. The second time "Kreuzesband" is in a compound, not as strong as the individual word in the first instance but based on a C# in the continuo.

BWV 170Vergnügte Ruh, beliebte Seelenlust Mvt. 1 Alto Aria
This has a noun compound "Höllensünden" at the end of a measure in an unaccented position, but the first syllable goes to a sharp anyway and there are other sharps in the vicinity.

Mvt. 2 Alto Recitative Die Welt, das Sündenhaus
"Höllenlieder" is a compound noun in an unaccented position on sixteenth notes.

Mvt. 4 Bass Aria Jesu, beuge doch mein Herze
"Höllenbrand" is a compound noun used twice in this aria in an unaccented position. The downward movement is the most important here.

BWV 169Gott soll allein mein Herze haben Mvt. 4 Alto Recitative Was ist die Liebe Gottes?
"Hölle" (a C# in the vocal line) is unaccented on the way down and the last note at the bottom is an A# in the vocal line.

BWV 56Ich will den Kreuzstab gerne tragen Mvt. 1 Bass Aria
The classic example "Kreuzstab" although a compound noun is accented on "Kreuz-" with a C# at the beginning of the measure and the upward movement of the notes reinforces the idea of trying to heave the cross upwards.

Mvt. 2 Bass Recitative Mein Wandel auf der WeltNotice the key signature key of Bb and when "Kreuz" is sung on the first, main beat of the measure as a single word detached from the words that follow, the continuo has the classic F# as the basis upon which the 'cross' ='Kreuz'=the sharp (accidental note) is erected or lifted up.

BWV 58Ach Gott, wie manches Herzeleid Mvt. 3 Soprano Aria Ich bin vergnügt in meinem LeidenFirst of four repeated occurrences shows the typical feature with the voice having the sharp (C#) as the word "Hölle” is accented in the middle the measure. The article 'die' is the upbeat to "Hölle" Notice the F# in the continuo right after the accent.

1729

BWV 174Ich liebe den Höchsten vom ganzen Gemüte Mvt. 3 Tenor Recitative O Liebe welcher keine gleich!In a somewhat unaccented position at the end of the measure, the sharp sign nonetheless appears with "Höllenpforte", a compound noun and is reechoed by the strings.

1730

BWV 51Jauchzet Gott in allen Landen Mvt. 1 Soprano Aria
Two out of three instances of "Kreuz" are both adequately marked with #'s and for the one that does not have a # in the vocal part , look at the F# and G# in the trumpet part and D# in the vocal part.

Mvt. 5 Bass Aria Mein Erlöser und Erhalter
"Kreuz" is repeated three times in this aria. The example shows the first instance with a sharp in the vocal line.

BWV 122Das neugeborne Kindelein Mvt. 4 Soprano, Alto, Tenor Aria (with Alto having the chorale melody) Ist Gott versöhnt und unser Freund
“Höllenpfort" another compound in which 'Höllen' is more adjectival and the emphasis is on 'pfort' Also in a chorale melody itself where not much can be done.

BWV 146Wir müssen durch viel Trübsal Mvt. 6 Tenor Recitative Ich bin bereit mein Kreuz geduldig zu ertragenRemember how close this thought was to Bach (the letter referred to above). Even in the unaccented position of a measure the voice has the 'raised cross', G#, on the word "Kreuz"

A good example.

BWV 158Der Friede sei mit dir Mvt. 4 Chorale Hier ist das rechte Osterlamm
"Kreuzes Stamm" is almost a compound noun here in a repeated section, where other words prevail in the first line. The italicized words indicate that Bach did not even write these words into the score.

BWV 159Sehet, wir gehn hinauf gen Jerusalem Mvt. 1 Alto and Bass Arioso and Recitative
Two examples, one of "Kreuz", the other of "Hölle" in unaccented positions and nothing unusual occurs. With "Hölle" Bach is more interested in showing musically the downward motion toward hell.

BWV 171Gott, wie dein Name, so ist auch dein Ruhm Mvt 3 Alto Recitative Du süßer Jesus-Name duAlthough there are other sharps in the continuo as well as the vocal line, this is the only A#. "Kreuz" is in an accented position at the beginning of the measure.

BWV 188Ich habe meine Zuversicht Mvt. 4 Alto Aria Unerforschlich ist die Weise
"Kreuz" appears four times in this aria. The first two instances are given and reveal the presence of G#'s in the vocal part.

BWV 244 SMP
What is worse than #'s = "Kreuz?" The double-sharps at the point of Jesus' betrayel by Judas.

'Krankheit' is illustrated thus.

"Laß ihn kreuzigen" has the # in exactly the correct position

the fugal entries land right on the # with the word 'kreuz-".

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All snippets taken from various volumes of the NBA too numerous to mention.

Thomas Braatz (April 2001). No part of this article may be reproduced, stored in a rerieval system, or transmitted, in any form or by any means, electonic, mechanical, photocopying, recording or otherwise, without the prior permission of the author.